rages urs auup Why do we warm-up? ortant part of a brass players day is their warm-up. A warmup consist of fundamental exercises. These exercises bulla embouchure strength to help ina trombone players performance throughout the day. A daly warm-up should include: mouthpiece | buzzing, long tones, slurs and flexibility, scales and arpeggios, a range building. lish correct Mouthpiece buzzing will help focus the sound and estal e embouchure. The mouthpiece is our instrument. The trombone is an amplifier to project the sound. Therefore, it only makes sense to practice on the mouthpiece. I like to start out the day buzzing long tones and then flexibility exercises. Long tones also establish a good embouchure. Long tones build strength in the embouchure. Playing long tones is like lifting weights or running. They build muscles in the embouchure and create muscle memory. Muscle memory is when our muscles remember how to play that first note. Holding a note for four counts or more will create a memory in the brain of how the note felt on the embouchure. Hitting the Bb in Bolero will be easier. slide technique and air flow. Slide technique can be worked on ir with @ metronome connecting from note to note. To connect notes, Constant airflow will help. Another embouchure weight lifting’ technique are lip slurs and flexibility exercises. : Practicing lip slurs and flexibility exercises wil r will make int srg Seem easier. One reason for that is because the work hen already been done. A couple examples are Tubs Mirum from Practicing scales familiar: a : Telative minors. Scales arc aca thith the twelve ai exercises,Think about how we can say a phrase three different ways ound, Now that is a good sound. That is a good sound now. A eee Si that is now. (This one is from Brian Bowman) How are different? What makes one sound better than another? Sound must have the following characteristics: -Pitch -Core -Shape (round or angular?) -Clarity -Consistency -Air Support Practicing does not mean “rehearsing mistakes.” If you play the same exercise over and over with mistakes 10 times, you have a 10:1 ratio that a mistake will be made. Practice methodically, slowly, and with purpose with the goal to be error-free! Add velocity AFTER error- free playing. Playing “almost in thythm is like a pilot almost hitting the runway!” : cause “flams,” or a two-part Articulation. Use a mirror and note that the tongue should move independently from the embouchré. An old adage says: Don’t attack notes: deliver them! Listening: THE key to all musicianship. You c: t b ‘an never play better than you can .héar. Work on fundamentals daily and really isten Use atuner, a metronome, a recorder, a drone; anything at your disposal to assist listening. Go to concerts, i USe YouTube, |i Performers whenever possible, aan ODs of alsuphonium‘Turn Studies Warm-up (Euphonium /Tremponey Adranced UPPER Range 4 “ig fe ft ey * ete ¢ See tebe s be pe EE OE ees ei, D Advanced LOWER Range i eS ©2010 GAR MUSIC www Gailfopertsoncom‘Torn Stuies Warm-up (Euphoaium /Trombone) ~\ pa EE ee te tee t HP i Hm GailRehertsoncomEuphoninm/ Trombone Turn Studies Warti-up Soni = 0 . es Gail Robertson ©2010 GAR MUSIC wir Gailfobertson.com